Disney Videos (DVDs and VHS) :
Disney Animated Movies

Walt Disney created some of the most popular characters of all time. Here are some of the videos and DVDs available through Amazon.com. If you wish to purchase any of these items, click on either the title or the cover to be directed to Amazon.com.

Please Note: Many of these videos and DVDs have been taken out of circulation by the Walt Disney Company. In most cases, Amazon.com's affiliates will still have copies available even after Amazon.com has used up their supply. Simply click through the cover, title name, or format, and continue to the page containing the video/DVD description.

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Back in 1961, Walt Disney got a little hip with 101 Dalmatians, making use of that flat Saturday morning cartoon style that had become so popular. The result is a kitschy change in animation and story. Pongo and Perdita are two lonely dalmatians who meet cute in a London park and arrange for their pet humans to marry so they can live together and raise a family. They become proud parents of 15 pups, who are stolen by the dastardly Cruella De Vil, who wants to make a fur coat out of them. Cruella has become the most popular villain in all of Disney; she's flamboyantly nasty and lots of fun. But it's the dalmatians who shine in this endearing classic, particularly those precocious pups.

This 1949 Disney feature has never been available on video in its original form until now. The 68-minute film contains two shorts: The Wind in the Willows and The Legend of Sleepy Hollow. The former is a lively version of Kenneth Grahame's book of animal adventures, including Mr. Toad, a rambunctious sort with a passion for motorcars. Basil Rathbone narrates the story. Sleepy Hollow is the Washington Irving story of a stuffy schoolmaster and his ability to win the love of the fair Katrina from the brutish Brom Van Brunt. Many fans will see a resemblance to Disney's masterpiece created some 40 years later, Beauty and the Beast, in style and story. The end is still scary enough to send youngsters under the table. Bing Crosby supplies the narration, character voices, and songs. The opening number in a library including two stories has been included in this good-looking restoration. The shorts were made in Disney's prime, a year before Cinderella, and the look is wondrous. The exaggeration of Ichabod's skinny frame and his slumping horse is a glorious example.

Disney's 1992 animated feature is a triumph of wit and skill. The high-tech artwork and graphics look great, the characters are strong, the familiar story is nicely augmented with an interesting villain (Jafar, voiced by Jonathan Freeman), and there's an incredible hook atop the whole thing: Robin Williams's frantically hilarious vocal performance as Aladdin's genie. Even if one isn't particularly moved by the love story between the title character (Scott Weinger) and his girlfriend Jasmine (Linda Larkin), you can easily get lost in Williams's improvisational energy and the equally entertaining performances of Freeman and Gilbert Gottfried (as Jafar's parrot).

Imaginatively rendered but slightly chilly, this 1951 Disney adaptation of the Lewis Carroll classic is also appropriately surreal. Alice (voiced by Kathryn Beaumont) has all the anticipated experiences: shrinking and growing, meeting the White Rabbit, having tea with the Mad Hatter, etc. Characterization is very strong, and the Disney team worked hard to bring screen personality to Carroll's eccentric creations. For a Disney film, however, it seems more the self-satisfied sum of its inventiveness than a truly engaging experience.

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Because of critics' reaction to Alice in Wonderland in 1951, it is written, Walt Disney actually apologized for the movie and soon after his television show became a hit a few years later, he showed it in its entirety on TV, thus relegating it to his "minor film" category. The movie has never been able to shake this image, and that is a shame. We should remember that "Wizard of Oz" wasn't a giant box office hit in 1939, and only after it was made an annual event on television did it become a classic in the eyes of the public. "Alice in Wonderland" deserves far more attention than it has ever received. The characters are wonderful. The music is humable, even singable. It's a short film that takes the viewer into a dreamland, and Disney's animated version stands up against any of the other live versions that have popped up over the years. It's time to give this movie the credit it deserves as a classic in animation. Watch it from a child's point of view, with the amazing images of a cat that disappears, talking cards, and Alice constantly growing and shrinking. And then enjoy it as an adult for the dream world into which we are all swept. And furthermore, the DVD transfer is fantastic, with as many extras as one will find on a Disney non-special edition disc. Take another look at this one and be swept away.

Duchess and her three kittens are enjoying the high life with their devoted human mistress until the wicked butler Edgar, with his eyes on a big inheritance, decides to dope them and get them out of the picture. How can these fragile creatures cope in the unfamiliar countryside and the meaner streets of Paris? Only by meeting the irrepressible alley cat O'Malley, a rough diamond with romance in his heart. After they get a taste of the wide dangerous world, he guides them home, and Edgar gets his just desserts at the wrong end of a horse. As always, it's really the voices rather than the animation that are the heart of the Disney magic: Phil Harris is brilliant as O'Malley, Eva Gabor as Duchess is... well... Eva Gabor; but perhaps the most memorable turns are by Pat Buttram and George Lindsay, who turn the old hounds Napoleon and Lafayette into a couple of bumbling Southern-fried rednecks. Their scenes with Edgar, and the musical numbers with Scat Cat and his cool-dude band, are classic. Most striking about seeing The Aristocats now is how deeply Disney's style of animation has changed since this was at the cutting edge in 1970. Perhaps the nostalgic, dated feel are just a result of being plonked down in Belle Epoque Paris, but the illustrations are fussier (a pity) and the animation and overall pace much less frenetic (sometimes a relief) than in more recent efforts such as Aladdin.

The Disney Studio was built on innovation in animation, so it seems ironic that Atlantis is both a bold departure and highly derivative, borrowing heavily from anime, video games, and graphic novels. Instead of songs and fuzzy little animals, the artists offer an action-adventure set in 1914: nerdy linguist Milo Thatch (Michael J. Fox) believes he's found the location of the legendary Lost Continent. An eccentric zillionaire sends Milo out to test his hypothesis with an anachronistic crew that includes tough Puerto Rican mechanic Audrey (Jacqueline Obradors), demolition expert Vinnie (Don Novello), and butt-kicking blond adventurer Helga (Claudia Christian). When they find Atlantis, its culture is dying because the people can no longer read the runes that explain their mysterious power source--but Milo can. Nasty Commander Rourke (James Garner) attempts to steal that power source, leading to the requisite all-out battle.

Atlantis offers some nifty battle scenes, including an attack on a Jules Verne-esque submarine by a giant robotic trilobite and fishlike flying cars. But the film suffers from major story problems. If Princess Kida (Cree Summer) remembers her civilization at its height, why can't she read the runes? Why doesn't Milo's crew notice that the Atlanteans live for centuries? The angular designs are based on the work of comic book artist Mike Mignola (Hellboy), and the artists struggle with the characters' stubby hands, skinny limbs, and pointed jaws. The result is a film that will appeal more to 10-year-old boys than to family audiences.

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Additional Features:
Journey to the center of an animated feature with Disney's ingeniously engineered Special Edition. Taking a cue from The Matrix and Moulin Rouge, the commentary track by the directors and producer is enriched with an optional "Visual Commentary" feature, which whisks the viewers into behind the scenes featurettes on key sequences. Choose your own level of interaction in the second supplemental disc. "Tour" a comprehensive two-hour documentary with peeks at the wealth of additional materials you can "Explore" by theme or "File" through by topic. Among them: scores of design galleries, four cut sequences of varying completeness (including the fully animated original opening scene), a mythic mock history of the legendary "Shepherd's Journal" (complete with sample pages), and an Atlantean language primer by creator Mark Okrund. It's a journey almost as involved as Milo's, but a lot less tiring.

It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of Bambi, Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, Bambi covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but Bambi is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated.

The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast remains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is too hard to love anyone besides himself), Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman. (The title song won the 1991 Best Song Oscar, and Menken's score scored a trophy as well.) The downright funniest song is "Gaston," a lout's paean to himself (including the immortal line, "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication, and pure joy.

Decription from Amazon.com

Over a decade after it was made, this Oscar-winning musical looks better than ever; the remastered film pops off the screen. This DVD debut has a whole disc of extras, but it's the film that matters here. You can see the original version, the special edition--which has a new song sequence, "Human Again," created for its 2001 release in IMAX theaters--and the unique "work-in-progress" edition that played the New York Film Festival and was seen on an earlier laserdisc release. Disney's tendency for posh--albeit sanitized--extras continues here with a commercial look at their animated history and a making-of hosted by Celine Dion. The kids will have more fun with the games--a trivia test on disc one unlocks a robust DVD game set on disc two.

In the mystical land of Prydain, Taran, a young boy who dreams of a future as an invincible warrior, finds himself leading a real-life quest. In a race against the evil Horned King, Taran must be the first to find the mysterious Black Cauldron, or the Horned King wil unleash its power and take over the world. With the help of a magic sword, an enchanting princess, an adorable clairvoyant pig, and a furry little creature named Gurgi, Taran overcomes winged dragons, the King's monstrous henchmen, three batty witches, and more--and learns nothing is as powerful as courage and friendship.

Brother Bear has a dramatic story--after he kills a bear, a young hunter named Kenai (voiced by Joaquin Phoenix, Gladiator) in prehistoric North America is turned into a bear himself and hunted by his own brother--but the animated movie's tone is more earnest and warm than tragic, focusing on the unfolding relationship between Kenai and an orphaned bear cub named Koda (voiced by Jeremy Suarez). However, it's often the comic supporting characters who prove the most popular, and a pair of moose voiced by Rick Moranis and Doug Thomas in their McKenzie brothers/Canadian dude mode (from SCTV and the movie Strange Brew) will win many fans. The songs by Phil Collins are typically negligible, but the hand-drawn animation is lush (occasional flashes of computer-generated animation clash with the movie's overall look). Kids will also enjoy the mammoths; no sabre-toothed tigers, unfortunately.

Brighter and more colorful than the other animated insect movie of 1998 (Antz), A Bug's Life is the sweetly told story of Flik (voiced by David Foley), an ant searching for better ways to be a bug. His colony unfortunately revolves around feeding and fearing the local grasshoppers (lead by Hopper, voiced with gleeful menace by Kevin Spacey). When Flik accidentally destroys the seasonal food supply for the grasshoppers he decides to look for help ("We need bigger bugs!"). The ants, led by Princess Atta (Julia Louis-Dreyfus), are eager to dispose of the troublesome Flik. Yet he finds help--a hearty bunch of bug warriors--and brings them back to the colony. Unfortunately they are just traveling performers afraid of conflict.

As with Toy Story, the ensemble of creatures and voices is remarkable and often inspired. Highlights include wiseacre comedian Denis Leary as an un-ladylike ladybug, Joe Ranft as the German-accented caterpillar, David Hyde Pierce as a stick bug, and Michael McShane as a pair of unintelligible pillbugs. The scene-stealer is Atta's squeaky-voiced sister, baby Dot (Hayden Panettiere), who has a big sweet spot for Flik.

More gentle and kid-friendly than Antz, A Bug's Life still has some good suspense and a wonderful demise of the villain. However, the film--a giant worldwide hit--will be remembered for its most creative touch: "outtakes" over the end credits à la many live-action comedy films. These dozen or so scenes (both "editions" of outtakes are contained here) are brilliant and deserve a special place in film history right along with 1998's other most talked-about sequence: the opening Normandy invasion in Saving Private Ryan.

Lightning McQueen is a cocky, rookie race car. Speeding on his way to a big race, he crashes into Radiator Springs, destroying lots of the inhabitants belongings. In order to make up for what he did, the cocky roadster is sentenced to community service. Though he will do anything to get away from the work, McQueen must learn to respect and bond with the Radiator Springs inhabitants in order to get out of the town and back on the racetracks.

Experience a fantastic world of breathtaking action in Disney's hilarious new movie Chicken Little. It's "the perfect family film," raves Scott Mantz of Access Hollywood. When the sky really is falling and sanity has flown the coop, who will rise to save the day? Together with his hysterical band of misfit friends, Chicken Little must hatch a plan to save the planet from alien invasion and prove that the world's biggest hero is a little chicken. Overflowing with incredible music and bursting with exciting bonus features, including alternate openings, an exclusive "making of" featurette, games, and much more, this sensational DVD is truly something to cluck about.

Disney's adaptation of the beloved fairy tale became a classic in its own right, thanks to some memorable tunes (including "A Dream Is a Wish Your Heart Makes," "Bibbidi-Bobbidi-Boo," and the title song) and some endearingly cute comic relief. We all know the story--the wicked stepmother and stepsisters simply won't have it, this uppity Cinderella thinking she's going to a ball designed to find the handsome prince an appropriate sweetheart, but perseverance, animal buddies, and a well-timed entrance by a fairy godmother make sure things turn out all right. There are a few striking sequences of pure animation--for example, Cinderella is reflected in bubbles drifting through the air--and the design is rich and evocative throughout. It's a simple story padded here agreeably with comic business, particularly Cinderella's rodent pals (dressed up conspicuously like the dwarf sidekicks of another famous Disney heroine) and their misadventures with a wretched cat named Lucifer. There's also much harrumphing and exposition spouting by the King and the Grand Duke. It's a much simpler and more graceful work than the more frenetically paced animated films of today, which makes it simultaneously quaint and highly gratifying.

Description from Amazon.com

The most celebrated of all the Disney classics, Cinderella, is also known as one of Walt Disney's all-time favorite films. Cinderella has enchanted generations with its spellbinding story, charming music, and endearing characters that live in your heart forever. The beloved fairy tale becomes pure Disney magic as beautiful Cinderella shares her dreams of romance and a better life with the lovable mice Gus and Jaq. When Cinderella's cruel stepmother prevents her from attending the Royal Ball, the delightful Fairy Godmother appears! With a wave of her wondrous wand and a bouncy "Bibbidi-Bobbidi-Boo," the Fairy Godmother transforms a simple pumpkin into a magical coach -- and Cinderella's rags into a gorgeous gown. At the ball, Cinderella falls in love with Prince Charming, but must flee before the stroke of midnight breaks the spell!

Now with an all-new digital restoration, Disney's Enhanced Home Theater Mix, and all-new games and music videos, this 2-Disc Special Edition of Cinderella is the perfect fit for everyone who believes dreams really do come true. Also available on Video.

Dinosaurs come alive like never before in this costly computer-animated film from Disney. After a breathtaking opening (a dino egg is kidnapped), the film changes style; realistic dinosaurs are given human characteristics and voices. The kidnapped egg grows into an iguanodon named Aladar (voiced by D.B. Sweeney), who is raised by lemurs (shades of Tarzan) on a lush island void of other dinosaurs. When a meteorite destroys their island home in a thrilling sequence, the lemur family and Aladar become part of a dinosaur troop roaming the mainland deserts looking for the lush nesting grounds (shades of the fourth installment of the Land Before Time series and Fantasia). Disney's usual mix of modern language (one lemur calls himself "a love monkey") is present, as is its typical capital punishment law: anyone against our forward-thinking hero (or even disagreeing with him) ends up dead. Curiously, the meanies, a pair of carnotaurs following the group, are nameless and voiceless. This more realistic approach might have been a bigger wow, as in the BBC's Walking with Dinosaurs, which looked extraordinary with only a fraction of the budget. The complexity and scope of Dinosaur's visual scale is impressive, and group shots and a point-of-view angle are stunning. Rated PG for general intensity, the film should be a favorite for the 6- to 11-year-old set.

The Dumbo 60th Anniversary Edition was the beneficiary of an electronic film restoration process where every frame of film was scanned into a high resolution computer system, then painstakingly examined and repaired frame by frame to eliminate negative and positive dirt, film scratches and the like. A high definition transfer was done and color correction was supervised by Disney Feature Animation to ensure faithful reproduction of the colors as they were originally intended.

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A Disney "classic" that actually is a classic, Dumbo should be part of your video collection whether or not you have children. The storytelling was never as lean as in Dumbo, the songs rarely as haunting (or just plain weird), the characters rarely so well defined. The film pits the "cold, cruel, heartless" world that can't accept abnormality against a plucky, and mute, hero. Jumbo Jr. (Dumbo is a mean-spirited nickname) is ostracized from the circus pack shortly after his delivery by the stork because of his big ears. His mother sticks up for him and is shackled. He's jeered by children (an insightful scene has one boy poking fun at Dumbo's ears, even though the youngster's ears are also ungainly), used by the circus folk, and demoted to appearing with the clowns. Only the decent Timothy Q. Mouse looks out for the little guy. Concerns about the un-PC "Jim Crow" crows, who mock Dumbo with the wonderful "When I See an Elephant Fly," should be moderated by remembering that the crows are the only social group in the film who act kindly to the little outcast. If you don't mist up during the "Baby Mine" scene, you may be legally pronounced dead.

Description from Amazon.com

Additional features:
Only 64 minutes long, Dumbo remains one of most charming and heartfelt films in the Disney canon. This DVD marks the 60th anniversary of its release: the attack on Pearl Harbor knocked Dumbo off the cover of Time. The clear, digitally restored print highlights the imaginative use of color in the film, especially in the dramatic sequence of the roustabouts raising the big top and the brilliantly surreal "Pink Elephants on Parade." In the "Celebrating Dumbo" featurette, young studio artists talk about loving the film but provide little information about its creation. The artists aren't identified in the small galleries of preproduction drawings and publicity stills. Animation historian John Canemaker provides a knowledgeable audio commentary, but the viewer longs for more of Joe Grant, the 93-year-old cowriter of Dumbo who continues to work at the Disney Studio.

Originally developed as an epic called Kingdom of the Sun, The Emperor's New Groove lost scale and most of Sting's song score (some of which can be heard on the soundtrack) on its way to the screen. The end result is the lightest Disney film in many a moon, a joyous romp akin to Aladdin in its quotient of laughs for kids and adults. The original story centers on the spoiled teenage emperor Kuzco (David Spade), who enjoys getting the best of his Aztecan subjects. When he fires Yzma (Eartha Kitt), his evil sorceress, she seeks revenge and turns Kuzco into a llama with the help of her hunk of the month, a lunk named Kronk (Patrick Warburton). Alone in the jungle, the talking llama is befriended by Pacha (John Goodman), who has just been told to vacate his pastoral home by the human Kuzco. What's an ego to do? That's pretty much the story and the characters--simple, direct, fun--a Disney film on a diet. For any fan of the acidic humor of Spade, this is essential viewing. As narrator of his tale, Kuzco uses a sarcastic tone to keep the story jumping with plenty of fun asides (he even "stops" the film at one point to make sure you know the story is about him). Even better is character actor Warburton (Elaine's stuck-up boyfriend on Seinfeld), who steals every scene as the dim-witted, but oh-so-likable Kronk. There's even a delicious Tom Jones number that starts the film off with a bang.

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Groundbreaking on several counts, not the least of which was an innovative use of animation and stereophonic sound, this ambitious Disney feature has lost nothing to time since its release in 1940. Classical music was interpreted by Disney animators, resulting in surreal fantasy and playful escapism. Leopold Stokowski and the Philadelphia Orchestra provided the music for eight segments by the composers Tchaikovsky, Moussorgsky, Stravinsky, Beethoven, Ponchielli, Bach, Dukas, and Schubert. Not all the sequences were created equally, but a few are simply glorious, such as "Night on Bald Mountain," "The Sorcerer's Apprentice," and "The Nutcracker Suite." The animation ranges from subtly delicate to fiercely bold. The screen bursts with color and action as creatures transmute and convention is thrust aside. The painstaking detail and saturated hues are unique to this film, unmatched even by more advanced technology.

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More ambitious in scope than any of its other animated films (before or to come), Disney's 1940 Fantasia was a dizzying, magical, and highly enjoyable marriage of classical music and animated images. Fantasia 2000 features some breathtaking animation and storytelling, and in a few spots soars to wonderful high points, but it still more often than not has the feel of walking in its predecessor's footsteps as opposed to creating its own path. A family of whales swimming and soaring to Respighi's The Pines of Rome is magical to watch, but ends all too soon; a forest sprite's dance of life, death, and rebirth to Stravinsky's The Rite of Spring too clearly echoes the original Fantasia's Night on Bald Mountain/Ave Maria sequence. But when it's on target, Fantasia 2000 is glorious enough to make you giddy. Hans Christian Andersen's The Steadfast Tin Soldier is a perfect narrative set to Shostakovich's Piano Concerto No. 2, and Donald Duck's guest appearance as the assistant to Noah (of ark fame) set to Elgar's Pomp and Circumstance marches is a welcome companion piece (though not an equal) to The Sorcerer's Apprentice, the one original Fantasia piece included here. The high point of Fantasia 2000, though, is a fantastic day-in-the-life sequence of 1930s New York City set to Gershwin's Rhapsody in Blue and animated in the style of cartoonist Al Hirschfeld; it's a perfect melding of music, story, and animation. Let's hope future Fantasias (reportedly in the works) take a cue from the best of this compilation. The music is provided by the Chicago Symphony Orchestra, conducted by James Levine, interspersed with negligible intros by Steve Martin, Bette Midler, Itzhak Perlman, James Earl Jones, and others.

A delightful undersea world unfolds in Pixar's animated adventure Finding Nemo. When his son Nemo is captured by a scuba-diver, a nervous-nellie clownfish named Marlin (voiced by Albert Brooks) sets off into the vast--and astonishingly detailed--ocean to find him. Along the way he hooks up with a scatterbrained blue tang fish named Dory (Ellen DeGeneres), who's both helpful and a hindrance, sometimes at the same time. Faced with sharks, deep-sea anglers, fields of poisonous jellyfish, sea turtles, pelicans, and much more, Marlin rises above his neuroses in this wonderfully funny and nonstop thrill ride--rarely does more than 10 minutes pass without a sequence destined to become a theme park attraction. Pixar continues its run of impeccable artistic and economic success (their movies include Toy Story, A Bug's Life, Toy Story 2, and Monsters, Inc). Also featuring the voices of Willem Dafoe, Geoffrey Rush, and Allison Janney.

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From the Academy Award®-winning creators of Toy Story and Monsters, Inc (2001, Best Animated Short Film, FOR THE BIRDS), it's Finding Nemo, a hilarious adventure where you'll meet colorful characters that take you into the breathtaking underwater world of Australia's Great Barrier Reef. Nemo, an adventurous young clownfish, is unexpectedly taken to a dentist's office aquarium. It's up to Marlin (Albert Brooks), his worrisome father, and Dory (Ellen DeGeneres), a friendly but forgetful regal blue tang fish, to make the epic journey to bring Nemo home. Their adventure brings them face-to-face with vegetarian sharks, surfer dude turtles, hypnotic jellyfish, hungry seagulls, and more. Marlin discovers a bravery he never knew, but will he be able to find his son? Finding Nemo's breakthrough computer animation takes you into a whole new world with this undersea adventure about family, courage, and challenges. Take the plunge into Finding Nemo, a "spectacularly beautiful animated adventure for everyone" -- David Sheehan, CBS-TV

The Fox and the Hound marked the last collaboration between Disney's older artists, including three of the "Nine Old Men" (Frank Thomas, Ollie Johnston, and Woolie Reitherman), and the young animators who would make the record-breaking films of the '90s. Based on a book by Daniel P. Mannix, the film tells the story of a bloodhound puppy and a fox kit who begin as friends but are forced to become enemies. Tod and Copper barely establish their friendship before Copper begins his training as hunting dog. Unfortunately, neither character develops much of a personality, which makes it difficult to care about them. The screen comes alive near end of the film, when Tod and Copper have to join forces to fight off an enormous bear. It had been years since Disney produced a sequence with this kind of feral power--and years would pass before they surpassed it. The Fox and the Hound ranks as one of the studio's lesser efforts, but it suggests that better films were soon to follow.

Fun and Fancy Free, Walt Disney's 9th full-length animated masterpiece, is a delightful gem that not only sparkles with charm, but is unbelievably rich in history-making Disney moments. It was the last animated feature starring Walt Disney as the voice of Mickey Mouse, and the only film featuring all four of Walt Disney's most famous characters -- Mickey Mouse, Donald Duck, Goofy, and Jiminy Cricket. Following Disney's classic tradition of great storytelling, unforgettable characters, music, and adventure, Fun and Fancy Free is the joyful telling of "Bongo"" and "Mickey and the Beanstalk", two timeless tales magically brought to life by the beloved Jiminy Cricket and the masterful combination of animation and live action. And now, in celebration of its 50th anniversary, Fun and Fancy Free has been beautifully restored so a whole new generation can experience the magic of Walt Disney's original theatrical vision -- for the very first time! One of Disney's happiest films ever, Fun and Fancy Free makes a valuable addition to your Disney video collection.

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Fun is probably worth the purchase for "Mickey and the Beanstalk," the second half of this combo-film. "Beanstalk" includes the last performance by Walt Disney of Mickey Mouse. It also has Donald Duck and Goofy as comrades who climb the beanstalk in their back yard to face Willy the Giant. This segment actually achieves the goals of the film's title. The first half, however, is "Bongo," the story of a addlepated circus bear. "Bongo" is more poky and interest-free. Dinah Shore warbles and narrates the segment, and it goes on much too long for its purpose. Don't trade your cow in for it.

The clues are in, the chase is on, and the case of the century is about to break wide open in Disney's greatest little mystery in history! Let the creators of Aladdin and The Little Mermaid take you on an adventuresome journey through the cobblestone streets of 1897 London, where some suspicious "mousechief" is the suspenseful start to this thrilling musical adventure. Olivia, the brave daughter of a beloved London toymaker, turns to Basil of Baker Street for help with her father's disappearance. Basil's jolly assistant Dr. Dawson and loyal dog Toby lend a hand ... and nose ... as they sniff out clues through their charming miniature world. The final chase leads to Professor Ratigan (voiced by Vincent Price), a hard-hearted criminal whom Basil must outwit to save all of Mousedom! Now digitally remastered, fully restored and full of unforgettable characters and spectacular animation -- all leading to a climactic climb atop Big Ben -- it's elementary who you'll want to watch again and again ... The Great Mouse Detective!

Product Description from Manufacturer

Just because Walt Disney created contemporary and traditional classics of animation doesn't mean the studio is out of ideas--not by a long shot. The Great Mouse Detective is richly animated and offers a clever tale. It may not be as easily recognized a title as Aladdin or The Little Mermaid, but all three share the same director, Ron Clements. Originally released theatrically in 1986, the mystery borrows easily from Sir Arthur Conan Doyle's Sherlock Holmes and is based on Eve Titus's book Basil of Baker Street.

When a brilliant toymaker is kidnapped by a creepy peg-legged bat, his daughter, Olivia, enlists the aid of the legendary Basil. Basil, Olivia, and Basil's assistant, Dr. Dawson, are part of an intricate city system of Victorian-era London mice. Basil quickly realizes his archenemy, Professor Ratigan (a rat who wants to be a mouse), is behind the abduction. Ratigan (voiced by Vincent Price) fiendishly aspires to take over London rodents--and will stop at nothing to achieve his greatest desire. The unlikely trio of good guys become heroes, of course. The engaging story line is a perfect introduction to Doyle's work and mysteries in general. Look for a very cleverly executed voice-cameo by Basil Rathbone (as Sherlock Holmes, natch). Alan Young (Mr. Ed) also provides a voice.

Not the egregious foul it seemed to be in theaters, Hercules stands up as an entertaining spritzer of an animated feature. The continual peppering of in-jokes and cultural references becomes less irksome on video. That there's no majesty or awe invested in the beloved Greek legends also seems less of an error. Also on the plus side is the bounciest Alan Menken music since Little Shop of Horrors. With Zeus's blood in his veins, young Hercules's amazing strength makes him an outcast (sorry, that still doesn't fly), so he trains with a satyr named Phil to become a hero. Along the way Herc meets Meg, a common mortal who falls hard for him. They're both against the jocular Hades, who has to destroy Hercules to take over Olympus. The hydra is the computer-animated set piece for this little number, a no-chance attempt to beat that wildebeest herd from The Lion King.

Round up the family and get ready for a whole lotta fun with Disney's hilarious animated comedy Home on the Range. It's a "total joy," raves Gene Shalit, "The Today Show." When a greedy outlaw schemes to take possession of the "Patch Of Heaven" dairy farm, three determined cows, a karate-kicking stallion named Buck, and a colorful coral of critters join forces to save the farm. The stakes are sky high as this unlikely animal alliance risks its hides and matches wits with a mysterious band of bad guys. Experience Disney's new moo-vie adventure with spectacular bonus features, stunning animation, and original songs by Tim McGraw and the award-winning composer of Beauty and the Beast and Aladdin. It's "good fun for the whole family," declares Leonard Maltin.

The misconception about this animated film from Disney was that it was a movie for kids--something Victor Hugo never had in mind. In fact, despite a cute brace of singing gargoyles who are Quasimodo's (Tom Hulce) best friends, this version of Hugo's classic tale is really adult entertainment, with a strong set of songs by Alan Menken. The story remains mostly the same (though tricked out with a happier ending than Hugo's): Quasimodo, the ward of repressive monk Frollo, falls for a gypsy girl named Esmerelda (Demi Moore)--though she loves one of the king's guards (Kevin Kline). But they are all put in jeopardy by the wicked Frollo, whose secret passion for Esmerelda leads him to seek her death. At times too dark and even a shade kinky, something that may scare younger viewers.

From the Academy Award® winning creators of Finding Nemo (2003 Best Animated Feature Film) comes the action-packed animated adventure about the mundane and incredible lives of a house full of superheroes. Bob Parr and his wife Helen used to be among the world's greatest crime fighters, saving lives and battling evil on a daily basis. Fifteen years later, they have been forced to adopt civilian identities and retreat to the suburbs where they live "normal" lives with their three kids, Violet, Dash, and Jack-Jack. Itching to get back into action, Bob gets his chance when a mysterious communication summons him to a remote island for a top secret assignment. He soon discovers that it will take a super family effort to rescue the world from total destruction. Exploding with fun and featuring an all-new animated short film, this spectacular 2-disc collector's edition DVD is high-flying entertainment for everyone.

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Animation studio Pixar (creators of Finding Nemo and Toy Story) reigns supreme: The Incredibles is another stunning example of their inspired storytelling and technical prowess. In a world where superheroes have been outlawed, the former Mr. Incredible (voiced by Craig T. Nelson) and Elastigirl (Holly Hunter) struggle to raise a family (with a teenager daughter who turns invisible and a super-speedy boy) while keeping their powers under wraps--but into their lives comes a supervillain with a particular grudge against Mr. Incredible. The Incredibles mixes comic book battles with middle-age crisis to daffy, delightful effect. Not only is the movie a dazzling visual experience, but the same care Pixar and writer/director Brad Bird (The Iron Giant) pay to visual details gets applied to the narrative as well. It's deeply satifying to see a movie where every turn of plot has been given as much attention as the blazing explosions.

Disney's 1967 animated feature seems even more entertaining now than it did upon first release, with a hall-of-fame vocal performance by Phil Harris as Baloo, the genial bear friend of feral child Mowgli. Based on fiction by Rudyard Kipling, the film goes its own way as Disney animation will, but the strong characters and smart casting (George Sanders as the villainous tiger, Shere Khan) make it one of the studio's stronger feature-length cartoons. Songs include "The Bare Necessities" and "Trust in Me."

Disney's first animated feature in CinemaScope is now available in widescreen presentations on video, and it is definitely good to get the whole picture. One of the studio's most original and charming movies, the 1955 film tells the story of a rakish, street-smart dog named Tramp, who helps an aristocratic pooch named Lady out of some trouble and then commences a romance with her. Sweet, funny scenes abound, and the combination of innocence and sophistication would have done well in a live-action picture. Peggy Lee cowrote the songs and provides the voice of the Siamese cats in one of the film's best-known musical sequences. This newly restored version spruces up both sonics and visuals, and a letterbox version is available.

Warm, funny, and imaginative, Lilo & Stitch is the best animated feature the Walt Disney Studios have produced in years. On the planet Turo, mad scientist Jumba Jookiba (voice by David Ogden Stiers) has created a miniature monster programmed for destruction. When the monster escapes to Earth, it's adopted as a pet and named "Stitch" by Lilo (Daveigh Chase), a lonely little Hawaiian girl. Lilo and her older sister Nani (Tia Carrere) have been struggling to stay together since their parents died. Stitch and Lilo share some hilarious adventures, evading welfare officer Cobra Bubbles (Ving Rhames) and galactic police agents. They learn the timely lesson that a family can be something you're born into--or something you assemble. A warmth and sincerity that recall The Iron Giant and the films of Hiyao Miyazaki make Lilo a delightful fantasy adults and children can truly enjoy together.

Disney's The Lion King Special Edition features an all-new song, "Morning Report," and never-before-seen animation, giving you even more of this award-winning masterpiece -- the greatest animated adventure of all time. An unforgettable story, breathtaking animation, beloved characters, and Academy Award®-winning music (Best Music, Original Score, 1994; Best Music, Song, "Can You Feel The Love Tonight") set the stage for the adventures of Simba, the feisty lion cub who "just can't wait to be king." But his envious Uncle Scar has plans for his own ascent to the throne, and he forces Simba's exile from the kingdom. Alone and adrift, Simba soon joins the escapades of a hilarious meerkat named Timon and his warmhearted warthog pal, Pumbaa. Adopting their carefree lifestyle of "Hakuna Matata," Simba ignores his real responsibilities until he realizes his destiny and returns to the Pride Lands to claim his place in the "Circle of Life." Now extensively restored and remastered -- experience The Lion King like never before, from its magnificent musical opening over breathtaking African vistas to its emotional climax. The all-star vocal talents -- including Matthew Broderick, Jeremy Irons, Nathan Lane, and Ernie Sabella -- rip-roaring comedy, and uplifting messages of courage, loyalty, and hope make this timeless tale entertainment for all ages.

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Not an ideal choice for younger kids, this hip and violent animated feature from Disney was nevertheless a huge smash in theaters and on video, and it continues to enjoy life in an acclaimed Broadway production. The story finds a lion cub, son of a king, sent into exile after his father is sabotaged by a rivalrous uncle. The little hero finds his way into the "circle of life" with some new friends and eventually comes back to reclaim his proper place. Characters are very strong, vocal performances by the likes of Jeremy Irons, Nathan Lane, and Whoopi Goldberg are terrific, the jokes are aimed as much (if not more) at adults than kids, the animation is sometimes breathtaking, and the music is more palatable than in many Disney features. But be cautious: this is too intense for the Rugrats crowd.

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had been dormant for thirty years. In the tale of a headstrong young mermaid who yearns to "spend a day, warm on the sand," Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel can only succeed if she receives true love's kiss in a few day's time and she needs all the help she can from a singing crab named Sebastian, a loudmouth seagull, and a flounder. The lyrics and music by Howard Ashman and Alan Menken are top form: witty and relevant, and they advance the story (go on, hum a few bars of "Under the Sea"). Mermaid put animation back on the studio's "to do" list and was responsible for ushering Beauty and the Beast to theaters. A modern Disney classic.

Share in Walt Disney's extraordinary vision of pairing imaginative stories with spectacular music in Disney's 8th full-length animated classic, available for the first time ever. In the tradition of Fantasia, Make Mine Music is a glorious collection of musically charged animated shorts featuring such fun-filled favorites as "Peter And The Wolf," narrated by the beloved voice behind Winnie The Pooh. In addition, you'll enjoy such classic cartoon hits as "Casey At The Bat," "The Whale Who Wanted To Sing At The Met," and "Johnnie Fedora And Alice Bluebonnet," the whimsical adventure of two hats who fall in love in a department store window. Every member of your family will have a favorite in this musical medley of fun and fantasy from Disney!

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Sometimes referred to as "the Poor Man's Fantasia," Make Mine Music (1946) was the first of the "package features" Walt Disney released after World War II. Instead of Bach and Beethoven, the artists illustrated segments set to popular music by Benny Goodman, Dinah Shore, and the Andrews Sisters. Originally set to Debussy's "Claire de Lune," "Blue Bayou" remains an atmospheric evocation of the Everglades. "The Whale Who Wanted to Sing at the Met" is a charming fantasy about a cetacean with an extraordinary voice. "Peter and the Wolf," based on the Prokofiev score, offers brightly colored designs, but the narration by Sterling Holloway seems superfluous. "All the Cats Join In" is an upbeat evocation of the Bobby Sox era, but "Casey at the Bat" and "Johnny Fedora and Alice Bluebonnet" feel self-conscious and unfunny.

"Two Silhouettes" combines rotoscoped images of Ballets Russes de Monte Carlo stars Tatiana Riabouchinska and David Lichine with kitsch cupids, sparkles, and hearts. "The Martins and the Coys," a spoof of a hillbilly feud, has been excised in a bow to modern taste. The supplemental material includes The Band Concert, the first color Mickey Mouse short and one of the character's finest performances, and Music Land, a quirky Silly Symphony about clashing musical styles.

Disney's 1977 The Many Adventures of Winnie the Pooh may be the last word on (animated) Pooh because it so faithfully honors the first word on Pooh, penned in the 1920s by British storyteller A.A. Milne. Gently paced, subtly humorous, and blessedly understated, this adaptation reflects Walt Disney's original vision to develop the beloved British bear for a wider audience. The film is essentially a collection of the original Pooh shorts, "The Honey Tree," "The Blustery Day," and "Winnie the Pooh and Tigger Too." These storybooks are presented in seamless "chapters," narrated by the timeless Sebastian Cabot. The familiar musical score and original voices of Sterling Holloway as Pooh, and Paul Winchell as Tigger, cap this enchanting keepsake.

In the grand tradition of Disney's greatest musical classics such as Fantasia, Melody Time features seven classic stories, each enhanced with high-spirited music and unforgettable characters! Donald Duck -- an all-time Disney favorite -- puts on a display of jazzy antics as the star of "Blame It On The Samba." Music becomes a real adventure for a busy bumble bee in "Bumble Boogie." From the mischievous young tugboat in "Little Toot," to the heroes of legend and myth in "Johnny Appleseed" and "Pecos Bill," this feast for the eyes and ears entertains with wit and charm. A timeless addition to your video collection, Melody Time is a delightful Disney classic with something for everyone in your family!

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This is another collection of Disney shorts set to music, but this time the formula works. That's predicated on the inherent strength of the individual pieces and almost all of them come through. Surprisingly, two American folk heroes, Johnny Appleseed and Pecos Bill, are the stars of this show, with rousty little tunes, humor, and compelling linear story lines (a rarity in most of these shorts). Even the shorts that are weak in one area, thematically or musically, make up for it in another. There's very little of the Disney animators attempting to be 1940s modern, thank goodness, and there's a sterling quality in the depth of the art work. A definite plus to an animation (or Disney) collection.

The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians.

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Additional Features:
The all-new animated short "Mike's New Car" is the promoted highlight of the DVD release of Pixar's hilarious film. However, this short--as good as it is--is far from the only new footage here. If you saw Monsters, Inc. early in its theatrical run, you missed the outtakes included here. Bits seen or heard about in the movie--commercials, guided tours, the "Company Play"--are shown uninterrupted and are a delight. The easily navigated extras are broken into two parts. The Monster World should interest kids and fans, giving viewers a you-are-there tour of the fantasyland, including games and funky odds and ends. The Human World provides all the usual making-of background, albeit with Pixar's normal air of lunacy and completeness. The film can be seen in its theatrical widescreen aspect, or in a new, reformatted full-screen aspect. Also, watch the movie with the effects-only audio track for a new way to enjoy the film.

Solid entertainment from a new group of Disney animators. The story source is a Chinese fable about a young girl who disguises herself as a man to help her family and her country. When the Huns attack China, a call to arms goes out to every village, and Mulan's father, being the only man in the family, accepts the call. Mulan (voiced by Ming-Na Wen, sung by Lea Salonga) has just made a disastrous appearance at the Matchmaker and decides to challenge society's expectations (being a bride). She steals her father's conscription notice, cuts her hair, and impersonates a man to join the army. She goes to boot camp, learning to fit in with the other soldiers with some help from her sidekick, Mushu, a wise-cracking dragon (voiced by Eddie Murphy). She trains, and soon faces the Huns eye-to-eye to protect her Emperor.

The film is gorgeous to look at, with a superior blend of classic and computer-generated animation. Directors Tony Bancroft and Barry Cook make the best of it: a battle in the snowy mountains is as thrilling as the best Hollywood action films. The menacing Huns are not cute but simple and bad. The wickedness is subtle, not disturbing. The film is not a full-fledged musical, as it has only five songs (the best, "Be a Man," is sung during boot camp). Eddie Murphy is an inspired choice for the comic-relief dragon, but his lines are not as clever as Robin Williams's in Aladdin. These are minor quibbles, though. The story is strong, and Mulan goes right to the top of Disney animated heroines; she has the right stuff.

Disney does Dickens in this animated version of Oliver Twist, in which a homeless New York City cat falls in with a bunch of mischievous dogs under the leadership of the appealing scoundrel Fagin. The roots of Disney's success with animation in the '90s begins with this clever, energetic, atmospheric movie, which succeeds in capturing the grim world Dickens conjured. Lyricist Howard Ashman (The Little Mermaid) worked on the songs, the best of which is sung by Billy Joel, who provides the voice of (the Artful) Dodger.

Peter Pan has a special place in the realm of classic animated Disney films: it instills an element of childlike wonder. The 1953 version of James M. Barrie's story is colorfully told and keeps on the straight and narrow of the book. Barrie's wondrous focus on child's play is the key to its longevity: kids who don't grow up, shadows that run away from their owners, pirates, a fairy, and the magic ability to fly. In short, you can't help wishing the adventure would happen to you. Fueled by a few memorable songs (the stunner being "You Can Fly") and the strong impression of the pixie fairy Tinkerbell and the goofy Captain Hook, Disney's version of this story neither supplants nor lessens the Broadway version with Mary Martin that was produced for television the same decade. Unlike some classics, Peter Pan never ages along the way.

This Disney masterpiece from 1940 will hold up forever precisely because it doesn't restrain or temper the most elemental emotions and themes germane to its story. Based on the Collodi tale about a wooden puppet who wants to become a real boy, Pinocchio is among the most magical, mythical, and frightening films to come from the studio in its long history. A number of scenes make permanent impressions on young minds (just ask Steven Spielberg, who quoted the film more than once in Close Encounters of the Third Kind), and the songs ("When You Wish upon a Star") can't be beat.

Disney's take on this historical confrontation between European settlers and Native Americans follows the paths of two future lovers. One is British adventurer John Smith, who travels the Atlantic with the Virginia Company to establish Jamestown. On the shore is Pocahontas, a typical Disney heroine: bright, beautiful, mischievous, and motherless. The two meet in the untamed wilds of America (the first meeting is quite divine), fall in love, and try to ward off the warring factions. It's Disney's version of a Native American West Side Story. Two Disney trademarks do not quite muster up: the villain isn't hissable and the score's only high point is the Oscar-winning "Colors of the Wind." Calling it "historical" is a stretch, but Disney created a very natural look at the two cultures. The Native American characters are handled especially well, and kids should be intrigued by their world; the movie is a far different lesson from the one their parents and grandparents learned. Disney has discovered a few things, though: you don't have to kill to solve your problems, and you can end the film without a happily-ever-after, illustrated by a touching final visual.

After the visual bombast of many contemporary CG and motion-capture features, the drawn characters in The Princess and the Frog, the Walt Disney Studio's eagerly awaited return to traditional animation, feel doubly welcome. Directed by John Musker and Ron Clements (The Little Mermaid, Aladdin), The Princess and the Frog moves the classic fairy tale to a snazzy version of 1920s New Orleans. Tiana (voice by Anika Noni Rose), the first African-American Disney heroine, is not a princess, but a young woman who hopes to fulfill her father's dream of opening a restaurant to serve food that will bring together people from all walks of life. Tiana may wish upon a star, but she believes that hard work is the way to fulfill your aspirations. Her dedication clashes with the cheerful idleness of the visiting prince Naveen (Bruno Campos). A voodoo spell cast by Dr. Facilier (Keith David) in a showstopping number by composer Randy Newman initiates the events that will bring the mismatched hero and heroine together. However, the animation of three supporting characters--Louis (Michael-Leon Wooley), a jazz-playing alligator; Ray (Jim Cummings), a Cajun firefly; and 197-year-old voodoo priestess Mama Odie (Jenifer Lewis)--is so outstanding, it nearly steals the film. Alternately funny, touching, and dramatic, The Princess and the Frog is an all-too-rare example of a holiday entertainment a family can enjoy together, with the most and least sophisticated members appreciating different elements.

Remy is a rat, constantly risking life in an expensive French restaurant because of his love of good food, as well as a desire to become a chef. Yet, obviously, this is a rather tough dream for a rat. But opportunity knocks when a young boy, who desperately needs to keep his job at the restaurant, despite his lack of cooking abilities, discovers and partners the young Remy. Its up to the two of them to avoid the insane head chef, bring the rest of Remy's family up to his standards, win his partner a girl, and, of course, produce the finest Ratatouille in all of France.

What can two little mice possibly do to save an orphan girl who's fallen into evil hands? With a little cooperation and faith in oneself, anything is possible! As members of the mouse-run International Rescue Aid Society, Bernard and Miss Bianca respond to orphan Penny's call for help. The two mice search for clues and, with the help of an old cat named Rufus, track Penny to the clutches of the evil Madame Medusa in a dilapidated ship in Devil's Bayou. It turns out that Medusa is using Penny to locate and retrieve the Devil's Eye Diamond--a stone she'll stop at nothing to possess. With a cunning plan, courageous acts, cooperation from local animal life, and lots of faith, Bernard and Miss Bianca help Penny find the diamond and escape from Medusa. The result of their adventure is that Bernard and Miss Bianca become close friends and Penny gets adopted. This somewhat dark, classic 1977 animated Disney film is based on Margery Sharp's The Rescuers and Miss Bianca, and features the Academy Award-nominated song "Someone's Waiting for You." Voice talents include Eva Gabor as Miss Bianca, Bob Newhart as Bernard, Geraldine Page as Madame Medusa, and Jim Jordan (radio's Fibber McGee) as Orville Albatross. Followed by the sequel The Rescuers Down Under.

No, this isn't a quickie, direct-to-video sequel, cashing in on the success of the 1977 animated hit about adventurous mice, but a full-blown theatrical effort. This time around, Bernard (voiced by Bob Newhart) is trying to pop the question to Bianca (Eva Gabor) when they're summoned to Australia, where a young boy has been kidnapped by a pallid, gray-faced poacher (who looks like and is voiced by George C. Scott). Wilbur, a chatterbox of an albatross (John Candy, replacing the late Jim Jordan's character Orville), and Jake (Tristan Rogers), a kangaroo mouse--Bernard is jealous of the dashing rodent--assist the Rescuers in saving the day and imparting a mild environmental message. The film opens with an absolutely breathtaking aerial sequence--this was made near the beginning of Disney's animation renaissance--so impressive it would seem the story, literally, has nowhere else to go but down, but some smart gags, excellent animation, and rollicking adventures ensue. So why isn't it better known? It had the bad luck to open, in 1990, opposite another kids' film--Home Alone.

A minor classic from Disney, this 1973 all-animal, all-animated musical version of the familiar story is more charming than one might expect. Perhaps it's the warm, chummy take on key relationships within the legend--the way Robin Hood (Brian Bedford) gets twitterpated whenever the subject of Maid Marian (Monica Evans) comes up or the way best pal Little John (Phil Harris voicing a variation on his own Baloo from The Jungle Book) admonishes the Sherwood Forest hero, "Aw, Rob, why dontcha just marry the girl?" (Then, of course, there's the canny "casting" of the romantic leads as foxes: Robin the sly one and Marian the, well, foxy one.) The rest of the vocal cast is lively and eclectic: Peter Ustinov, Andy Devine, Terry-Thomas, George Lindsey. Roger Miller provides the songs and voice for the minstrel character Allan-A-Dale. The film is ably directed by Wolfgang Reitherman, whose decades of work in Disney's animation division helped create the studio's rich legacy.

The first of two features Walt Disney made at the behest of the Office of Inter-American Affairs, Saludos Amigos consists of four cartoons linked by live-action travel footage. The very funny "Lake Titicaca" finds Donald Duck high in the Bolivian Andes, struggling with a recalcitrant llama. "Pedro," the story of a little airplane replacing his father on a mail run across the Andes, is a variation on "The Little Engine That Could." "El Gaucho Goofy" continues the popular "How To" cartoon series that juxtaposes a deadpan narration with increasing physical mayhem. Here, Goofy demonstrates Pampas-style riding and the use of the bola. The jaunty parrot Jose Carioca makes his debut in "Aquarela do Brasil." Although largely eclipsed by the wilder The Three Caballeros (1944), Saludos Amigos retains its charm. Included in the supplemental material is South of the Border with Disney, which chronicles the Good Will Tour Walt and a group of his artists made in 1941. The 16mm footage has darkened, but this featurette offers rare glimpses of some of these artists at work, including Frank Thomas, Norm Ferguson, and Mary Blair, whose stylized drawings set the look for much of Saludos Amigos and Caballeros.

Disney's 1959 animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent (not dissimilar to the wicked Queen in Disney's Snow White and the Seven Dwarfs) taunts a king that his infant Aurora will fatally prick her finger on a spinning wheel before sundown on her 16th birthday. This, of course, would deny her a happily-ever-after with her true love. Things almost but not quite turn out that way, thanks to the assistance of some bubbly, bumbling fairies named Flora, Fauna, and Merryweather. It's not really all that much about the title character--how interesting can someone in the middle of a long nap be, anyway? Instead, those fairies carry the day, as well as, of course, good Prince Phillip, whose battle with the malevolent Maleficent in the guise of a dragon has been co-opted by any number of animated films since. See it in its original glory here. And Malificent's castle, filled with warthogs and demonic imps in a macabre dance celebrating their evil ways, manages a certain creepy grandeur.

One of the brightest nuggets from Disney's golden age, this 1937 film is almost dizzying in its meticulous construction of an enchanted world, with scores of major and minor characters (including fauna and fowl), each with a distinct identity. When you watch Snow White's intricate, graceful movements of fingers, arms, and head all in one shot, it is not the technical brilliance of Disney's artists that leaps out at you, but the very spirit of her engaging, girl-woman character. When the wicked queen's poisoned apple turns from killer green to rose red, the effect of knowing something so beautiful can be so terrible is absolutely elemental, so pure it forces one to surrender to the horror of it. Based on the Grimm fairy tale, Snow White is probably the best family film ever to deal, in mythic terms, with the psychological foundation for growing up. It's a crowning achievement and should not be missed.

Description from Amazon.com

Additional Features:
Disney figured out that it's not necessarily how many extras a DVD offers, it's how effortlessly the fan can view them. In two "guided tours," a viewer can see a selection of the excellent extras on the history and creation of Walt Disney's crown jewel. Disc 1 has an informative 40-minute documentary, plus karaoke songs, a neat trivia game, and Barbra Streisand's new version of "Some Day My Prince Will Come." Like Fantasia, the commentary track is expertly made up of historical recordings from over the years by Disney himself. The second disc brings out abandoned concepts, a crisp storyboard-to-film comparison, hundreds of well-organized drawings, and many historical recordings. The centerpiece, "Disney Through the Decades," is a mixed blessing of information and hype. Disney pride aside, they have done well with the film (now looking better than ever) that laid the foundation of their empire.

Based upon T.H. White's beloved novel, this Disney-fied version chronicles the tutoring of the Once and Future King, Arthur, as handled by the magician Merlin. Sword was a portent of things to come, with slapstick upbraiding storytelling, and cultural in-jokes substituting for wonder. But there's much to enjoy here as Merlin shows Newt, the young Arthur, things that will help him become the ruler of the Britons. The transformation sequences, where the boy is turned into a fish, a bird, and a squirrel are vintage Disney.

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DVD Includes:

Deleted Song, "The Magic Key"

Scrapbook--Still Frame Art Gallery

Knight For a Day Animated Short Starring Goofy

Brave Little Tailor Animated Short Starring Mickey Mouse

Music Magic: The Sherman Brothers Short

All About Magic, 1957 TV Show Hosted By Walt Disney

Film Facts--A Behind-The-Scenes Exclusive

Sing-Along Versions of "Higitus Figitus" and "That's What Makes The World Go Round"

After viewing Snow White and the Seven Dwarfs, Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzan doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzan makes a pretty good treat.

After viewing Snow White and the Seven Dwarfs, Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzan doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzan makes a pretty good treat.

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Additional Features:
It's the dish--mistakes, unused footage, creative differences, embarrassing behind-the-scene stories--that makes collector's editions so much fun. Unfortunately, this goes against the Disney philosophy of picture-perfection, and this two-set disc shows it; only half of the new materials are engaging. The other half of this second disc, the "Tarzan Archives," is slickly produced filler--more publicity fluff than deep insight on the development of the film and the animation process. Much better are the three abandoned scenes (with voices and storyboards), including a much fiercer opening and ending, plus dozens of sketches made over the years as the designers pursued the luscious look of the film. The original audio demos Phil Collins made for the film are also intriguing (mostly filled with dummy or place-holding lyrics). The new audio commentary (by the producer and two directors) is a "fireside chat" variety, hardly worth more than one listen. Two side-by-side comparisons of storyboards to final film are a great tool to show youngsters how the animated process works, as is animator Glen Keane's talks on animating Tarzan. Also for kids: a read-along book and trivia game.

As a Disney oddity, they don't get much odder than Three Caballeros. Donald Duck receives a birthday package from South America, and the film proceeds to unravel like some peyote-induced hallucination. It starts out reminiscent of other Disney films, where shorts are cobbled together, such as Make Mine Music or Fun and Fancy Free. The film has vignettes such as "The Cold-Blooded Penguin" and "The Flying Guachito." After them it careens straight into part-travelogue, part-stream-of-consciousness animation. Not helping out much are Donald's "friends," Joe Carioca (a parrot) and Panchito (a rooster). They spend most of the rest of the film watching Donald chase skirt. That's right, Donald Duck is a wolf in this movie, and he chases every live-action señorita who bustles across the screen. Although some will say otherwise, Caballeros is for die-hard Disney, Donald, or psychedelia fans only.

There is greatness in film that can be discussed, dissected, and talked about late into the night. Then there is genius that is right in front of our faces--we smile at the spell it puts us into and are refreshed, and nary a word needs to be spoken. This kind of entertainment is what they used to call "movie magic," and there is loads of it in this irresistible computer animation feature. Just a picture of these bright toys on the cover of Toy Story looks intriguing, reawakening the kid in us. Filmmaker John Lasseter's shorts (namely Knickknack and Tin Toy, which can be found on the Pixar video Tiny Toy Stories) illustrate not only a technical brilliance but also a great sense of humor--one in which the pun is always intended. Lasseter thinks of himself as a storyteller first and an animator second, much like another film innovator, Walt Disney.

Lasseter's story is universal and magical: what do toys do when they're not played with? Cowboy Woody (voiced by Tom Hanks), Andy's favorite bedroom toy, tries to calm the other toys (some original, some classic) during a wrenching time of year--the birthday party, when newer toys may replace them. Sure enough, Space Ranger Buzz Lightyear (Tim Allen) is the new toy that takes over the throne. Buzz has a crucial flaw, though--he believes he's the real Buzz Lightyear, not a toy. Bright and cheerful, Toy Story is much more than a 90-minute commercial for the inevitable bonanza of Woody and Buzz toys. Lasseter further scores with perfect voice casting, including Don Rickles as Mr. Potato Head and Wallace Shawn as a meek dinosaur. The director-animator won a special Oscar for "the development and inspired application of techniques that have made possible the first feature-length computer-animated film." In other words, the movie is great.

John Lasseter and his gang of high-tech creators at Pixar create another entertainment for the ages. Like the few great movie sequels, Toy Story 2 comments on why the first one was so wonderful while finding a fresh angle worthy of a new film. The craze of toy collecting becomes the focus here, as we find out Woody (voiced by Tom Hanks) is not only a beloved toy to Andy but also a rare doll from a popular '60s children's show. When a greedy collector takes Woody, Buzz Lightyear (Tim Allen) launches a rescue mission with Andy's other toys. To say more would be a crime because this is one of the most creative and smile-inducing films since, well, the first Toy Story.

Although the toys look the same as in the 1994 feature, Pixar shows how much technology has advanced: the human characters look more human, backgrounds are superior, and two action sequences that book-end the film are dazzling. And it's a hoot for kids and adults. The film is packed with spoofs, easily accessible in-jokes, and inspired voice casting (with newcomer Joan Cusack especially a delight as Cowgirl Jessie). But as the Pixar canon of films illustrates, the filmmakers are storytellers first. Woody's heart-tugging predicament can easily be translated into the eternal debate of living a good life versus living forever. Toy Story 2 also achieved something in the U.S. two other outstanding 1999 animated features (The Iron Giant, Princess Mononoke) could not: it became a huge box-office hit.

A pet project of Little Mermaid, Aladdin, and Hercules codirectors Ron Clements and John Musker, Treasure Planet is an ambitious animation hybrid (traditional animation combined with elaborate CGI backgrounds). It was the subject of numerous in-studio battles, but Disney office politics and a poor public reception distracted from its many admirable qualities, not the least being its overall fidelity to Robert Louis Stevenson's classic novel Treasure Island. Curiously revamped as a sci-fi adventure with spacefaring galleons, flintlock ray guns, and extreme-sports attitude, it caters to an young audience for whom Stevenson's adventure is an unknown quantity, revving up the material with arcade-game excitements. It's entertaining, for what it is, and kids will surely enjoy it. Maybe next time, however, Disney will follow its own legacy and properly adapt Stevenson (as they did with their 1950 live-action classic) for a new, and hopefully receptive, generation.

Pixar genius reigns in this funny romantic comedy, which stars a robot who says absolutely nothing for a full 25 minutes yet somehow completely transfixes and endears himself to the audience within the first few minutes of the film. As the last robot left on earth, Wall-E (voiced by Ben Burtt) is one small robot--with a big, big heart--who holds the future of earth and mankind squarely in the palm of his metal hand. He's outlasted all the "Waste Allocation Load Lifter Earth-Class" robots that were assigned some 700 years ago to clean up the environmental mess that man made of earth while man vacationed aboard the luxury spaceship Axiom. Wall-E has dutifully gone about his job compacting trash, the extreme solitude broken only by his pet cockroach, but he's developed some oddly human habits and ideas. When the Axiom sends its regularly scheduled robotic EVE probe (Elissa Knight) to earth, Wall-E is instantly smitten and proceeds to try to impress EVE with his collection of human memorabilia. EVE's directive compels her to bring Wall-E's newly collected plant sprout to the captain of the Axiom and Wall-E follows in hot pursuit. Suddenly, the human world is turned upside down and the Captain (Jeff Garlin) joins forces with Wall-E and a cast of other misfit robots to lead the now lethargic people back home to earth. Wall-E is a great family film with the most impressive aspect being the depth of emotion conveyed by a simple robot--a machine typically considered devoid of emotion, but made so absolutely touching by the magic of Pixar animation. Also well-worth admiring are the sweeping views from space, the creative yet disturbing vision of what strange luxuries a future space vacation might offer, and the innovative use of trash in a future cityscape. Underneath the slapstick comedy and touching love story is a poignant message about the folly of human greed and its potential effects on earth and the entire human race. Wall-E is preceded in theaters by the comical short Presto in which a magician's rabbit, unfed one too many times takes his revenge against the egotistical magician.

All nine of Disney's first collection of animated classics on DVD are included in this set. Some of the nine titles include bonus features, and the DVD format will provide optimum sound and picture quality for the young and old collector alike. The crown jewels are Pinocchio and The Little Mermaid. The former celebrates its 60th anniversary with a brand new print, while the latter is the 1989 film that revitalized Disney's animation wing and brought new audiences to the art form. Both offer Oscar-winning songs. Two of the popular classics from the '60s are represented with 101 Dalmatians and The Jungle Book, which was the last animated feature that Walt Disney directly worked on and which saved the animation department when it was a box-office hit in 1967. Hercules and Mulan make great strides in the look of animation. The mythical figures of the former are based on the radical designs of Gerald Scarfe, and the latter makes bold advancements in computer animation in the refreshingly unknown legend of a Chinese girl. The collection rounds out with Lady and the Tramp in a grand widescreen format, the charming Peter Pan that hardly shows its age, and 1998's The Lion King II: Simba's Pride, a made-for-video sequel. Although the sequel is entertaining, it's frustrating to note the original The Lion King has been kept out of circulation completely for a few years (as Disney does with many classics), gearing towards a grand future release into theaters.